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The Fruit Machine (1988) More at IMDbPro »


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Overview

User Rating:
6.5/10   211 votes
MOVIEmeter: ?

Up 33% in popularity this week. See why on IMDbPro.

Director:

Philip Saville

Writer:

Frank Clarke (writer)

Contact:

View company contact information for The Fruit Machine on IMDbPro.

Release Date:

9 November 1989 (Australia) more

Genre:

Drama more

Plot:

Two gay teenagers go on the run after witnessing a murder. full summary | add synopsis

Plot Keywords:

more

User Comments:

"You think you're a man" more (8 total)


Cast

  (in credits order) (verified as complete)
Emile Charles ... Eddie
Tony Forsyth ... Michael
Robert Stephens ... Vincent
Clare Higgins ... Eve

Bruce Payne ... Echo

Robbie Coltrane ... Annabelle

Carsten Norgaard ... Dolphin Man
Kim Christie ... Jean
Louis Emerick ... Billy
Joseph Carrington ... Ray
Julie Graham ... Hazel
Paula Ann Bland ... Beverley
Niven Boyd ... Dave
Claire Parker ... Young Jean
Caroline Milmoe ... Lillie
Forbes Collins ... John Schlesinger
Malcolm Frederick ... Truck Driver
Albie Woodington ... P.C. - Brighton
James McMartin ... P.C. - Fruit Machine
Paul Netterfield ... D.J. - Fruit Machine
Jason Conliffe ... 1st Lad - Fruit Machine
Mark Birch ... 2nd Lad - Fruit Machine
Anton Brookes ... Thug
Mandy Walsh ... Fat Woman At Party
David Baukham ... Security Man
Liz Stooke ... T.V. Reporter
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Directed by
Philip Saville 
 
Writing credits
(in alphabetical order)
Frank Clarke  writer

Produced by
Steve Morrison .... producer
 
Original Music by
Hans Zimmer 
 
Cinematography by
Dick Pope 
 
Film Editing by
Richard Bedford 
 
Production Design by
David Brockhurst 
 
Costume Design by
Maggie Hayes 
 
Second Unit Director or Assistant Director
Gerry Gavigan .... first assistant director
Nick Heckstall-Smith .... second assistant director
 
Art Department
Duncan Wheeler .... production buyer
 
Sound Department
Tony Jackson .... sound mixer
 
Visual Effects by
Janek Sirrs .... digital artist
 
Camera and Electrical Department
Phillip Contomichalos .... clapper loader
John Parsons .... gaffer
Mark White .... camera car grip
 
Music Department
Don Gallacher .... music consultant
Geoff Hogg .... music editor
 
Other crew
Peter Bloom .... dolphin trainer
Simon McNair Scott .... location manager
Kate Merrin .... runner
Richard Morrison .... title designer
Libbie Roberts .... disco dance advisor
 

Production CompaniesDistributorsSpecial EffectsOther Companies
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Additional Details

Also Known As:

Wonderland
more

Runtime:

103 min

Country:

UK

Language:

English

Colour:

Colour

Aspect Ratio:

1.66 : 1 more

Sound Mix:

Dolby

Certification:

Canada:R (Manitoba/Nova Scotia/Ontario) | Australia:M | USA:R | West Germany:16 | UK:15


Fun Stuff

Quotes:

[after seeing his buddy, who protests that he is NOT a rent boy get out of a car driven by an older man]
Eddie: Who's he?
Michael: It's, eh, my uncle.
Eddie: Uncle who?
Michael: It's my uncle Dick. Yeah, that's right. My Uncle Dick.
more

Movie Connections:

References Saturday Night and Sunday Morning (1960) more

Soundtrack:

You think you're a man more


FAQ

This FAQ is empty. Add the first question.
5 out of 5 people found the following comment useful.
"You think you're a man", 12 September 2006
9/10
Author: Alan Hickman (afhickman@hotmail.com) from White Hall, AR

The film "Wonderland" (aka "The FruitMachine") is a surprisingly dippy, imaginative romp involving two gay teenaged boys who happen to witness a gangland murder and are forced to flee Liverpool for Brighton. The film takes many inventive turns, several of which involve Eddie's dream lover, a man-dolphin hybrid who actually appears at crucial moments in the film to save Eddie and his partner, Michael. There are many subplots and colorful supporting characters, and the ending, albeit sad, is inevitable. It's worth it if only for the dance sequence at the Fruit Machine, a gay showbar in Liverpool, in which Michael competes for thirty quid. His dance is both erotic and touchingly naive. Both boys, Emile Charles and Tony Forsyth, should have had big careers in film. Apart from one distracting editing lapse that blunts the finale, this is a superior film, in that it refuses to indulge in stereotyping and doesn't condescend to its lead characters.

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